Event Comment: Benefit for Bannister. Afrerpiece: Never performed there, a Musical Entertainment, which went off with great Applause the New Scene of the Regatta was properly introduc'd in the Farce (Hopkins Diary). Rec'd Stopages #10 4s. 6d.; Mr Burges one quarter's rent (land tax deducted) #4 4s.; Paid Mr Grist by order of Mr Garrick #10; Mr Johnston's Music bill #14 3s. 6d.; Mr Burges (bricklayer) #52 2s. 6d. Receipts: #82 3s. 6d. Charges: #66 18s. Profits to Bannister: #15 5s. 6d. (Treasurer's Book)

Event Comment: The United Company. The date of the first performance is not precisely known, but the Gentleman's Journal, April 1693 (issued in May) states that it followed D'Urfey's comedy: And since that [The Richmond Heiress] another by Mr George Powell, call'd, a very good Wife, which hath already been acted five times (p. 130). It is likely that Powell's comedy first appeared late in April or very early in May. Dedication, Edition of 1693: The unexpected Success of this Play. A Comparison between the Two Stages (p. 16): Ramble: The next? Sullen: A very good Wife. Ramble: That's almost a Solaecism: whose is't? Sullen: Oh an excellent Author's! one George Powell's, the Player. Ramble. What was it's Fate? Sullen: Damn'd, damn'd, as it deserv'd

Event Comment: Betterton's Company. The date of the first performance is not known, but the fact that the play was advertised in the Post Boy, 25-28 April 1696, suggests that it was acted not later than the period preceding Passion Week (6-11 April 1696). In addition, the large number of minor performers in the cast suggests a Lenten performance by the young actors. In Act I, Scene i, there is an Entertainment of Instrumental Musick, Compos'd by Signior Finger: Then a Song, set by Mr John Eccles, and Sung by Young La Roche. In III, iii: A Dialogue set by Seignior Baptist. The play is an adaptation of John Webster's Cure for a Cuckold. A Comparison Between the Two Stages (1702): The City Bride, by another Player, Damn'd

Event Comment: Mainpiece [1st time; C 5, by Thomas Holcroft, based on Le Glorieux, by Philippe Nericault, dit Destouches. In 1793 reduced by the author to an afterpiece of 3 acts. Prologue and Epilogue by the author (Knapp, 101, 307). This play was originally attributed to James Marshall (Public Advertiser, 5 Feb.); on 8 Feb. he wrote a letter to the editor of the Oracle, stating that "The School for Arrogance is not mine, but Mr Holcroft's...By appearing for a time as the ostensible author I hope I have contributed to heal what was most unaccomodating between Mr Harris and Mr Holcroft." And see Genest, VII, 24, 27.] Oracle, 19 Feb. 1791: This Day is published The School for Arrogance (1s. 6d.). "If Mrs Wells could be prevailed upon to speak out, so that the audience might hear, it would be of some advantage to the new play. At present, the performer who happens to be on the stage with her has it all in confidence" (Gazetteer, 9 Feb.). Receipts: #186 11s. (181.8; 5.3)

Event Comment: [For the King (Cross). With New Music, Scenes, Machines, Habits, and other Decorations. Compos'd by Mr Noverre. All our Dancers appear. A good deal of hissing & Clapping & some Cries of No french Dancers; a great clapping too-the Dance is fine-(Mr Delaistre is a good Dancer) (Cross). [See for details of preparation, importation of dancers, especially of M Delaistre, The Chevalier Noverre, Father of Modern Ballet, Deryck Lynham (London, 1950), pp. 26-40. See also advertisement in Public Advertiser: 'Mr Noverre, whose entertainments of Dancing have been celebrated in almost all the courts of Europe, exhibits this evening his Chinese Festival at the Theatre Royal in Drury Lane, in pursuance of a contract made above a year ago with the managers of the said theatre: The Insinuation that at this time, an extraordinary number of French dancers are engaged, is groundless, there being at Drury Lane at present as few of that nation, as any other theatre now has, or perhaps ever had. Mr Noverre and his brothers are Swiss, of a protestant family in the Canton of Berne, his wife and her sisters Germans; there are above sixty performers concerned in the entertainment; more than forty of which are English, assisted only be a few French (five men and four women) to complete the Ballet as usual. As the intention of the Managers on this occasion is to give Variety to Entertainments of the town, it is not doubted it will meet with public approbation.'] Receipts: #210 (Cross)

Event Comment: The Duke's Company. It is not certain this is the first performance, but it may well have been. This performance is on the L. C. list, 5@139, p. 125. See also Nicoll, Restoration Drama, p. 346. Pepys, Diary: Sir W. Pen and I to the Duke's house, where a new play. The King and Court there: the house full, and an act begun. And so went to the King's. Downes (p. 28): Sir Martin Marral, The Duke of New-Castle, giving Mr Dryden a bare translation of it, out of a Comedy of the Famous French Poet Monseur Moleire: He adapted the Part purposely for the Mouth of Mr Nokes, and curiously Polishing the whole....All the Parts being very Just and Exactly perform'd, specially Sir Martin and his Man, Mr Smith, and several others since have come very near him, but none Equall'd, nor yet Mr Nokes in Sir Martin: This Comedy was Crown'd with an Excellent Entry. In the Last Act at the Mask, by Mr Priest and Madam Davies; This, and Love in a Tub, got the Company more Money than any preceding Comedy

Event Comment: The United Company. The date of the first performance is not known, but it very probably occurred not later than May 1691, as the play was advertised in the London Gazette, 4-8 June 1691. For discussions of it, see E. W. White, Early Performances of Purcell's Operas, Theatre Notebook, XIII (1958-59), 44-45, and R. E. Moore, Henry Purcell and the Restoration Theatre, Chapter III. Downes, Roscius Anglicanus, p. 42: King Arthur an Opera, wrote by Mr Dryden: it was Excellently Adorn'd with Scenes and Machines: The Musical Part set by Famous Mr Henry Purcel; and Dances made by Mr Jo. Priest: The Play and Musick pleas'd the Court and City, and being well perform'd, twas very Gainful to the Company. Roger North: I remember in Purcell's excellent opera of King Arthur, when Mrs Butler, in the person of Cupid, was to call up Genius, she had the liberty to turne her face to the scean, and ner back to the theater. She was in no concerne for her face, but sang a recitativo of calling towards the place where Genius was to rise, and performed it admirably, even beyond any thing I ever heard upon the English stage....And I could ascribe it to nothing so much as the liberty she had of concealing her face, which she could not endure should be so contorted as is necessary to sound well, before her gallants, or at least her envious sex. There was so much of admirable musick in that opera, that it's no wonder it's lost; for the English have no care of what's good, and therefore deserve it not (Roger North on Music, ed. John Wilson [London, 1959], p. 217-18)

Event Comment: Rich's Company. The date of the premiere is not known, but the fact that the play was advertised in the Post Boy, 12-16 Dec. 1695, suggests that it was probably first acted not later than November 1695. The edition of 1696 mentions two songs and their performers: A lass there lives upon the green, the words by an unknown hand, set by Courteville, and sung by the Boy to Miss Cross; and Bright Cynthia's pow'r divinely great, words by Mr Cheek, set by Courtevill, sung by Leveridge. These two songs are also in Deliciae Musicae, The Fourth Book, 1696, as is a third, Celemene, pray tell me, set by Henry Purcell and sung by the Boy and Girl. The words were written by D'Urfey; and the Boy presumably was Bowen, and the Girl, Miss Cross. See Purcell's Works, Purcell Society, XXI (1917), v-vi. A Comparison Between the Two Stages (1702), p. 19: Sullen: Oronooko. Ramble: Oh! the Favourite of the Ladies. Sullen: It had indeed uncommon Success, and the Quality of both Sexes were very kind to the Play, and to the Poet: No doubt it has Merit, particularly the last Scene; but 'tis as certain, that the Comick Part is below that Author's usual Genius. Ramble: I have a particular regard for Mr Southern's Stile and agreeable Manner; there's a Spirit of Conversation in every thing he writes. Sullen: I think very few exceed him in the Dialogue; his Gallantry is natural, and after the real manner of the Town; his acquaintance with the best Company entered him into the secrets of their Intrigues, and no Man knew better the Way and Disposition of Mankind. But yet I must say, his Diction is commonly the best part of him, especially in Comedy; but in Tragedy he has once in this, and in one other, Drawn the Passions very well

Event Comment: This Comis Opera is Written by the Revd Mr Bate. It is very Pleasant & the Music pretty. It is admirably Perform'd & was receiv'd with very great Applause (Hopkins Diary). The Music of the Afterpiece by Mr Carter. New Scenes, Dresses, Decoartions for afterpiece. Paid for Licences of Matilda & Rival Candidates #4 4s.; Mr Baddeley on note #10 10s.; Miss Berkley #2 2s. on note (Treasurer's Book). [A long rewiew of the plot of the afterpiece appeared in the Feb. Westminster Magazine, concluding: "In point of dialogue, poetry or music, it is inferior to few, if any, of the modern attempts of a similar kind; amongst which number, however, we desire to be understood not to include the ribald, unmeaning, sing-song compilations of the monotonous Mr Dibdin. The Fable, indeed, is too light and trival to endure the severity of a critical analysis; but it is at least sufficiently important to serve as a vehicle for the music; and the catastrophe has peculiar vivacity and theatrical spirit. Upon the whole the author has fully answered the end he proposed of introducing a deserving young composer whose name, it seems is Carter, to the public and who more than promises to be a composer of taste and genius. In this his first performance he both received and deserved the greatest encouragement and applause. Mr Weston spoke a humorous Epilogue accompanied by a large dog named Dragon, which had a very good effect, but as it was poor Dragon's first time of appearing on the stage, he, like all young performers of true feeling, seemed a good deal frightened...but having conquored his fears, and recovered himself a little, he performed his part very chastely and to the entire satisfaction of all present." Epilogue ends with a satirical remark upon Sg Rossignol, the "bird imitator" at Covent Garden. See 6 Jan. cg.] Receipts: #204 17s. 6d. (Treasurer's Book)

Event Comment: Benefit for Brereton. Music of the Afterpiece (entirely new) composed by Dibdin. Mr Brereton-Jaffier, Much Applause. The Quaker is Mr Dibdins Production he has sold it to Mr Brereton. The Music is pretty & Novel it was very badly perform'd--when it is properly Cast & got up with care it will do very well (Hopkins Diary). [MacMillan's note from Kemble differs slightly in wording.] [The Reviewer for the Westminster Magazine for May gave a paragraph to Dibdin's afterpiece: "The words will not add to Mr Dibdin's reputation as a writer, nor Will the music increase his fame as a composer, the latter, however, possessed more merit than the former. The Finale was in new stile and pleased. Upon the whole this piece, like the rest of Mr Dibdin's performances, proves that this would-be author, is resolv'd in spite. Of Nature and the Stars, to write."] Receipts: #105 19s. 6d. Charges: #69 18s. Profits to Brereton: #36 1s. 6d. (Treasurer's Book)

Event Comment: Prologue by Garrick; Epilogue by Cumberland, spoken by Foote and Mrs Jewell. A Comedy Never performed [by Foote]. [Audience included Dr Johnson, Mr Colman, Mr Garrick, Dr Goldsmith, Mr Macpherson, Mr Stevens, Sir Joshua Reynolds, Lord Littleton....So much applause that the audience stopped the play and required one speech repeated (Theatrical Intelligencer).

Event Comment: Betterton's Company. The date of this performance, which coincides with the opening of the playhouse in Lincoln's Inn Fields by Betterton's Company, is established by Downes, Roscius Anglicanus, pp. 43-44: [Betterton, Mrs Bracegirdle, Mrs Barry, and others] set up a new Company, calling it the New Theatre in Lincolns-Inn-Fields; and the House being fitted up from a Tennis-Court, they Open'd it the last Day of April 1695, with a new Comedy: Call'd, Love for Love....This Comedy being Extraordinary well Acted, chiefly the Part of Ben the Sailor, it took 13 Days Successively. Three songs in the play were published separately: I tell thee, Charmion, the music by Finger, sung by Pate and Reading, is in Thesaurus Musicus, 1696, The Fifth Book. A Nymph and a Swain, the music by John Eccles and sung by Pate; and A Soldier and a Saylour, the music by John Eccles, and sung by Dogget, are in Thesaurus Musicus, The Fourth Book, 1695. Cibber, Apology, I, 196-97: After we had stolen some few Days March upon them, the Forces of Betterton came up with us in terrible Order: In about three Weeks following, the new Theatre was open'd against us with veteran Company and a new Train of Artillery; or in plainer English, the old Actors in Lincoln's-Inn-Fields began with a new Comedy of Mr Congreve's, call'd Love for Love, which ran on with such extraordinary Success that they had seldom occasion to act any other Play 'till the End of the Season. This valuable Play had a narrow Escape from falling into the Hands of the Patentees; for before the Division of the Company it had been read and accepted of at the Theatre-Royal: But while the Articles of Agreement for it were preparing, the Rupture in the Theatrical State was so far advanced that the Author took time to pause before he sign'd them; when finding that all Hopes of Accomodation were impracticable, he thought it advisable to let it takes its Fortune with those Actors for whom he had first intended the Parts. A Comparison Between the Two Stages (1702), p. 10: Ramble: You know the New-house opened with an extraordinary good Comedy, the like has scarce been heard of. Critick: I allow that Play contributed not a little to their Reputation and Profit; it was the Work of a popular Author; but that was not all, the Town was ingag'd in its favour, and in favour of the Actors long before the Play was Acted. Sullen: I've heard as much; and I don't grudge 'em that happy beginning, to compensate some part of their Expence and Toil: But the assistance they receiv'd from some Noble Persons did 'em eminent Credit; and their appearance in the Boxes, gave the House as much Advantage as their Contributions. Ramble: Faith if their Boxes had not been well crowded, their Galleries wou'd ha' fallen down on their Heads. Sullen: The good Humour those Noble Patrons were in, gave that Comedy such infinite Applause; and what the Quality approve, the lower sort take upon trust. Gildon, The Lives and Characters (ca. 1698), p. 22: This Play, tho' a very good Comedy in it self, had this Advantage, that it was Acted at the Opening of the New House, when the Town was so prepossess'd in Favour of the very Actors, that before a Word was spoke, each Actor was clapt for a considerable Time. And yet all this got it not more Applause than it really deserv'd. An Essay on Acting (London, 1744), p. 10: The late celebrated Mr Dogget, before he perform'd the Character of Ben in Love for Love, took Lodgings in Wapping, and gather'd thence a Nosegay for the whole Town

Event Comment: Benefit Macklin. Mainpiece written by the late Lord Lansdown. With the Original Songs, new set by Mr Arne, and to be sung by Mr Lowe and Mrs Clive. Never acted there before. Afterpiece wirtten by the late Mr Pope, Mr Gay, and Dr Arbuthnot. Servants will be allowed to keep places on the stage; and those ladies who have taken places are humbly desired to send for tickets to prevent mistakes. Tickets to be had of Macklin at his house in Bow St., and of Hobson at the stage door

Event Comment: This Play is alter'd by Mr Lenox from Eastward hoe! it was well perform'd and had Applause--some hisses at the End it won't do much (Hopkins Diary). Characters new dress'd in Habits of the Time. (MacMillan's note from Kemble differs slightly.] Paid Mr Abrahams by Mr D. G. #40; Mr Caesar for Trimmings #6 16s. 6d. (Treasurer's Book). [Long review of the play and its merits and demerits as an adaptation appeared in the Westminster Magazine for Nov. It was approved of in general.] Receipts: #189 8s. (Treasurer's Book)

Event Comment: Afterpiece: By desire. Powel: Rec'd of Mr Wolfall [Woodfall?] for a ticket for the season to admit one into any part of the house, behind the scenes and to Benefit nights excepted--#15 15s. N.B.: These tickets us'd to be no more than ten guineas each before Mr Garrick's time, as for example Mr Ibbeston upon Ludgate hill, and Mr Tinker gave no more for theirs. Receipts: #170 (Cross); #166 6d. (Powel)

Event Comment: The United Company. The date of the first performance is not known; It is one of several plays which may have been acted in or near December, for three were entered in the Term Catalogues at approximately the same time. Of the three, The Mistakes was given first near Christmas 1690; the other two may have come earlier in the month. A song, When Sylvia was kind, the music composed by John Eccles, is in Joyful Cuckoldom, ca. 1695. In the text of the play is a song, Corinna in the bloom of youth, sung by Mrs Botoler

Event Comment: Rich's Company. The date of the first production is not certain, but tradition states that Dryden died on the third day (1 May 1700); if this report is correct, the first performance occurred on 29 April 1700. In A Collection of New Songs...Compos'd by Mr Daniel Purcel, Perform'd in the Revis'd Comedy call'd the Pilgrim (1700) is a song, Chronos, Chronos, mend thy pace, with Janus sung by Freeman, Momus by Pate, Diana by Mrs Erwin. Gottfried Finger apparently composed the passage sung by Venus, Calms appear when storms are past. William Egerton, Faithful Memoirs of...Mrs Anne Oldfield (1731): The Pilgrim was indeed reviv'd for the Benefit of Mr Dryden, Ann. 1700, but he dying on third Night of its Representation, his Son attended the Run of it, and the Advantages accrued to his Family. Cibber, Apology, I, 269-70: This Epilogue, and the Prologue the same Play [The Pilgrim], written by Dryden, I spoke myself, which not being usually done by the same Person, I have a mind, while I think of it, to let you know on what Occasion they both fell to my Share....Sir John Vanbrugh, who had given some light touches of his Pen to the Pilgrim to assist the Benefit Day of Dryden, had the Disposal of the Parts, and I being then as an Actor in some Favour with him, he read the Play first with me alone, and was pleased to offer me my Choice of what I might like best for myself in it. But as the chief Characters were not (according to my Taste) the most shining, it was no great Self-denial in me that I desir'd he would first take care of those who were more difficult to be pleased; I therefore only chose for myself two short incidental Parts, that of the stuttering Cook and the mad Englishman....Sir John, upon my being contented with so little a Share in the Entertainment, gave me the Epilogue to make up my Mess; which being written so much above the Strain of common Authors, I confess I was not a little pleased with. And Dryden, upon his hearing me repeat it to him, made a farther Compliment of trusting me with the Prologue. Cibber, Apology, I, 305-6: In theYear 1699, Mrs Oldfield was first taken into the House, where she remain'd about a Twelve-month almost a Mute and unheeded, 'till Sir John Vanbrugh, who first recommended her, gave her the Part of Alinda in the Pilgrim revis'd. This gentle Character happily became that want of Confidence which is inseparable from young Beginners, who, without it, seldom arrive to any Excellence: Notwithstanding, I own I was then so far deceiv'd in my Opinion of her, that I thought she had little more than her Person that appear'd necessary to the forming a good Actress; for she set out with so extraordinary a Diffidence, that it kept her too despondingly down to a formal, plain (not to say) flat manner of speaking. Nor could the silver Tone of her Voice 'till after some time incline my Ear to any Hope in he favour. A Comparison Between the Two Stages (1702), p. 27: [After Drury Lane and Lincoln's Inn Fields had revived Shakespeare and Johnson] Nay then, says the whole party at D. Lane, faith we'll e'en put the Pilgrim upon him--ay faith, so we will, says Dryden, and if youll let my Son have the Profits of the Third Night, I'll give you a Secular Mask: Done, says the House, and so the Bargain was struck

Event Comment: Benefit Mr Connor, who kept the Key and Garter Tavern in Pall-Mall. Written by the late Mr Addison, and Set to Musick by Mr Arne. Reduced to Two Acts. 6:30 p.m

Event Comment: Afterpiece: By desire. To Mr G-, Sir: You will very much oblige many of your friends by reviving the play of Ulisses wrote by the celebrated Mr Rowe; We apprehdnd there are four characters in which yourself, Mr Barry, Mrs Cibber and Mrs Pritchard would shine inimitably. If you think this hint worthy your notice, we make no doubt it will in every Respect answer your expectations, as well as gratify the town in general. S. W., S. T., &c. (General Advertiser). This day is publish'd, at 1s. Lethe Rehears'd or a critical discussion of the beauties and blemishes of that performance; interspers'd with occasional remarks upon dramatick satires in general, as well as on some that have been best receiv'd in particular. The whole in a free conversation amongst several persons of distinction. Printed for J. Roberts (General Advertiser). [This is a fifty@two@page puff for Lethe, and for the usefulness of the stage for propagating morals. The characters who lead the discussion are: Sir Francis Friendly , a sensible learned Gentleman; Dr Heartfree , a candid, judicious person; who has a great opinion of Mr Garrick; Mr Snip@Snap , a vociferous modern Critic; and Two Women .] Receipts: #120 (Cross); #118 12s. 6d. (Powel)

Event Comment: About this time Mr Theo: Cibber Mr Maddocks the wire Dancer, & several other Theatrical performers, with & number of other Passangers embark'd on board the Dublin, Captain White, in order to go to Ireland but the Ship was lost & every Soul perish'd (Cross). As Mr Sparks & others complain'd of Mr Wilkinson for taking them off, it [Diversions of ye Morning] was intended to be omitted this Night, But the Audience call'd so violently for it, that we were oblig'd to let him do it--he took off Foote & Sheridan, & wou'd have left out Sparks but ye Audience wou'd not be satisfied without it--when they first call'd Mr Foote went forward & said as some of the performers had complain'd it was to be omitted; as for being taken off himself he had no Objection to it, as he was always glad to contribute to their Entertainm[en]t &c. (Cross). Mainpiece: Not acted these 2 years [see 14 Oct. 1756]. Receipts: #130 (Cross); #139 10s. (Winston MS 8)

Event Comment: TThe London Chronicle for 1758 (p. 455): On Friday the 3rd instant was presented Coriolanus. The two first acts of this play, as it is performed at the above theatre, were written by Shakespear; the three last for the most part by Mr. Thomson. But how a man of Mr Sheridan's knowledge (who first introduc'd it there about four years ago) could think of pounding into one substance two things so heterogeneous in their natures as the productions of those authors, is to me amazing. Mr Smith enters in the first act, after having (as we are to suppose) just overcome the Volsci, to the tune of violins and hautboys; but I am a little afraid the grandeur of his triumph is a little misapplied, considering the early times in which Coriolanus lived, before the Roman empire had arrived to any degree of splendor and magnificence, and was great in virtue only. However it makes a fine show; and Mr Smith, who has an excellent person, by the help of a little burnt cork and a real coat of mail cuts a very martial appearance. I think it was one of the Gracchi, who, when he was speaking to the people, always had a servant behind him in the Rostrum with a pitch-pipe which he touched whenever he found his master's voice rising beyond a certain height; such an instrument as this would, in my opinion, be of service to Mr Smith, for his fault seems to be that of keeping too much at the top of his vioce. Mrs Hamilton in the part of Veturai, especially in the last act, excells herself; and in particular, she repeats that line: "He never can be lost who saves his country," with the genuine spirit of a free-born Englishman. By the unnatural conjunction which is attempted to be made in this tragedy, most of the other characters are robbed of their significance. Those two excellent actors, therefore, Ryan and Sparks, only give us just cause to regret that the parts of Tullus and Volscius are not longer....After the play was presented a Ballad Opera called The Contrivances; in which some good comedians are oblig'd to submit to the drudgery of supporting as contemptible a trifle as ever was acted on the stage

Event Comment: N.B. We have engag'd Mr King; & Miss Baker from Ireland, one Mr Moody, a Stroler,-Mr Beard is gone to Covent Garden, 'tis said to be manager Mr Mossop to Ireland. Receipts: #120 (Cross). Boxes 5s. Pit 3s. Gallery 2s. Upper Gallery 1s. Places from Mr Varney at the Stage Door. No admittance behind scenes. [The customary note about prices and admittance will not be noted further here.] [At the opening of the theatres this season appeared an essay in Goldsmith's Bee, giving close observations upon actors, and deploring the relative stiffness and formality of English actors in comparison with the French. Advised English actors to travel abroad. Yet (Vol. 1759, p. 12) commented on the magnificnece of "our theatres as far superior to any others in Europe where plays only are acted. The great care our performers take in painting for a part, their exactness in all minutiae of dress, and other little scenical proprieties has been taken notice of by Riccoboni." Complains of the convention of laying a rug before a dying scene and of the vacant expressions of mutes on stage.

Event Comment: This play is alter'd by Mr Cumberland was very well receiv'd Mr & Mrs Barry play'd very well Alcibiades was perform'd by Mr Crofts being his first appearance upon any Stage bad figure bad voice & Play'd bad (Hopkins Diary). New Scenes, Decorations &c. Mr Crofts-a stationer in the Temple (Winston MS 10). Theatrical Review, 4 Dec.: We think ourselves oblig'd to declare that this gentleman (Crofts), by no means answered the expectations we had formed, from the accounts we had heard of him.--His voice is not bad, though it is not much above the level of common conservation; --his deportment is aukward and void of grace to an extreme; and he labors under the disadvantage of having a face destitute of expression. His gestures are extremely ungraceful, and the whole of his execution is glaringly untutored, and misconceived. His persons is very ill formed, and therefore it makes greatly against him, especially as he is the representative of Alcibiades, who was the handsomest man in all Athens, and we never remember any one's attempting to set out as a capital performer with so few requisites for the support of such an undertaking as this gentleman appears to have. Paid Dr Nares & Mr Cooke's 8 boys in the Garter, 12 nights (30th ult. incl.) #36; Master Brown 7 nights (2nd inst. incl.) #2 12s 6d.; Licence for Timon, #2 2s. (Treasurer's Book). [Larpent MS 328 of Cumberland's Timon, is one of the earliest to include scenic descriptions: "A Hall in Timon's House. The Flat Scene represents stately Folding Doors. Scene two, the Back scene is hastily drawn back and discovers a magnificent Levee Room or Salon. &c."] Receipts: #243 1s. (Treasurer's Book)